<rdf:RDF xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#" xmlns:dcterms="http://purl.org/dc/terms/">
<rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267937">
    <dcterms:title><![CDATA[Latin Annotations in a Copy of Stowe&#039;s Chaucer and the Seventeenth-Century Reception of Troilus and Criseyde]]></dcterms:title>
    <dcterms:description><![CDATA[The annotations from Virgil and Seneca in a copy (not previously discussed) of Stow&#039;s edition of TC act much like footnotes in modern editions to identify such things as analogues. They also demonstrate that classical tag-lines had become common by the seventeenth century, and they shed light on how other copies of Chaucer were annotated in the same period.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262501">
    <dcterms:title><![CDATA[Latin Charms in British Library, MS Royal 12-B.XXV]]></dcterms:title>
    <dcterms:description><![CDATA[Olsan makes a brief reference to ParsT and &quot;charms for wounds and sickness.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273408">
    <dcterms:title><![CDATA[Latin Glossing, Medieval Literary Theory, and the Cross-Channel Readers of Chaucer.]]></dcterms:title>
    <dcterms:description><![CDATA[Considers marginal glossing in manuscripts of TC and CT as examples of actual reader experience of those texts, with an eye toward recognizing different interpretations and hermeneutic approaches from relatively contemporary readers.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261229">
    <dcterms:title><![CDATA[Latin Structure and Vernacular Space: Gower, Chaucer and the Boethian Tradition]]></dcterms:title>
    <dcterms:description><![CDATA[There are significant differences between Chaucer&#039;s and Gower&#039;s appropriations of the Roman de la Rose and its Latin antecedents.  Gower&#039;s priestly Genius is an authority figure in the tradition of Boethius&#039;s Consolation.  Chaucer&#039;s rejection of authority figures is one of the most important signs of his modernity, giving point to the contrast commonly drawn between Gower&#039;s supposed conservatism and Chaucer&#039;s more open vision.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268088">
    <dcterms:title><![CDATA[Laughable Men: Comedy and Masculinity from Chaucer to Shakespeare]]></dcterms:title>
    <dcterms:description><![CDATA[According to Walker, the three males in MilT anticipate familiar types of masculine &quot;fool&quot; in English dramatic tradition: John as cuckolded senex amans, Nicholas as the punished &quot;Priapic fool,&quot; and Absolon as the &quot;squeamish, infantalised male.&quot; Walker identifies similar figures in later traditions of drama, film, and television.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265626">
    <dcterms:title><![CDATA[Laughing at the Devil: Satan as a Humorous Figure in Middle English Literature]]></dcterms:title>
    <dcterms:description><![CDATA[Although Old English poetry always depicts Satan as supernaturally powerful (while doctrinally powerless), late-Middle English works show him as comic, the boaster who must fail--as in the mystery cycles followed by the morality plays.  In Chaucer&#039;s FrT, the summoner seems more evil than the fiend does.  Renaissance treatments vary.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273023">
    <dcterms:title><![CDATA[Laughter and Deception: Holcot and Chaucer Remain Cheerful]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that Holcot and Chaucer &quot;depict a world in which farce and deception are possible.&quot;  Discusses how Chaucer&#039;s ironic humor and &quot;Chaucerian misdirection&quot; fuel the ambiguity in ClT and NPT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277236">
    <dcterms:title><![CDATA[Laughter in a Damp Climate: An Anthology of British Humour.]]></dcterms:title>
    <dcterms:description><![CDATA[Comments on the legacy of Chaucer&#039;s humor in English literature, and includes a brief introduction to CT and selections from GP (descriptions of Wife Bath, Miller, Summoner, and Pardoner) in modern English translation (by Nevill Coghill), accompanied by reproductions of two early woodcuts.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274772">
    <dcterms:title><![CDATA[Laughter in Horace&#039;s Ode I. 9 and Chaucer&#039;s &quot;Miller&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Suggests the &quot;possible influence&quot; of Horace&#039;s Ode 1.9 on Alisoun&#039;s laugh in the dark in MilT, observing similarities in erotic setting, imagery, and opposition between youth and age.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263538">
    <dcterms:title><![CDATA[Laughter in the &#039;Second Nun&#039;s Tale&#039;: A Redefinition of the Genre]]></dcterms:title>
    <dcterms:description><![CDATA[Response to saints&#039; legends is normally sober, but &quot;Legenda Aurea,&quot; Chaucer&#039;s source for SNT, exhibits flashes of humor. In a reading of SNT that accepts the natural response of laughter, Valerian, Tiburce, and Almachius are seen to play the fool, thus setting into new perspective the perfection of Cecilia.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264320">
    <dcterms:title><![CDATA[Laughter in the Courts of Love: Comedy in Allegory from Chaucer to Spenser]]></dcterms:title>
    <dcterms:description><![CDATA[So rarely does medieval poetry combine comedy and allegory that superficially the two modes seem irreconcilable:  for some, humor undermines allegory&#039;s decorum of high seriousness; for others, it provides (at best) only badly needed comic relief.  But the tradition of allegorical love poetry in English from Chaucer to Spenser offers instructive examples in which comic action is integral to purported allegorical significance. Comedy quickens and animates abstract figurative meaning, whether through satire, irony, or simple joyous delight.  Perceptually, it lends its own peculiar double focus (on what is, on what should be) to the double focus of allegory (on &quot;figura&quot; and referent).]]></dcterms:description>
    <dcterms:description><![CDATA[Discusses the interrelations of comedy and allegory in BD, HF, PF, and LWWP; then explores how other poets (Gower, the Scottish Chaucerians, Skelton, and Spenser) similarly combine comedy with allegory in love poetry so that a given poem &quot;illustrates a way of perceiving meanings that established their value&quot; (57-58).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272392">
    <dcterms:title><![CDATA[Laureateship Under the Reign of Queen Victoria]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses Chaucer as the first English poet laureate in a larger argument for the political impetus behind the selection of Robert Southey, William Wordsworth, Samuel Rogers, and Alfred Tennyson as laureate poets of the Victorian period.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277398">
    <dcterms:title><![CDATA[Lavinia Greenlaw&#039;s Response to Chaucer and the Poetics of Memory.]]></dcterms:title>
    <dcterms:description><![CDATA[Compares the models of memory presented by the narrators of Chaucer&#039;s TC and Lavinia Greenlaw&#039;s &quot;A Double Sorrow,&quot; her poetic adaptation of TC published in 2014. Argues that while Chaucer&#039;s narrator uses classical models of memory that involve the process of retrieving and presenting a sequence of images to tell his story, Greenlaw&#039;s text represents memory as more personal and autobiographical. Despite their different approaches to memory and history, Chaucer and Greenlaw share a focus on investigating the relationship between memory and emotion, particularly love.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270737">
    <dcterms:title><![CDATA[Law and Religion in Chaucer&#039;s England]]></dcterms:title>
    <dcterms:description><![CDATA[Reprints twelve of Kelly&#039;s studies that pertain to Chaucer and his historical contexts, with an introduction, some addenda and corrigenda, and a cumulative index. The essays are reproduced in their original typefaces and with their original pagination.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272935">
    <dcterms:title><![CDATA[Law and the &#039;Reeve&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Suggests that behind several legal maxims found in RvPT stands the broader principle of measuring one law by another: &quot;the old by the new, the Continental by the English, the private by the public, the Mosaic by the Christian.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274668">
    <dcterms:title><![CDATA[Law, Chaucer, and Representation in Lydgate&#039;s &quot;Disguising at Hertford.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Demonstrates that in Lydgate&#039;s &quot;Disguising&quot; the wives&#039; use of Chaucerian &quot;performative and legalistic speech acts&quot; is set in evocative conflict with the &quot;theatricality of monarchical justice,&quot; arguing that Lydgate learned from Chaucer&#039;s WBPT how &quot;requital works as dramatic principle&quot; and how performative speech contests authority.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262363">
    <dcterms:title><![CDATA[Law, Sex, and Christian Society in Medieval Europe]]></dcterms:title>
    <dcterms:description><![CDATA[An exhaustive study of sexual practices and attitudes (both &quot;official&quot; and &quot;popular&quot;) and the attempted regulation of sex and marriage under canon law.  Chapter 10 deals with the period from 1348 to the Reformation.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269116">
    <dcterms:title><![CDATA[Lay Literacy and the Medieval Bible]]></dcterms:title>
    <dcterms:description><![CDATA[Caie describes how lay people gained access to the Bible in the late Middle Ages through sermons, compendia, and florilegia. Explores how Chaucer characterizes speakers through their uses of the Bible in CT (e.g., quotation, misquotation, selection, allusion), concentrating on the Wife of Bath and glosses to WBP.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269948">
    <dcterms:title><![CDATA[Lay Piety and Religious Discipline in Middle English Literature]]></dcterms:title>
    <dcterms:description><![CDATA[Rice studies late fourteenth-century vernacular prose devotional guides, with attention to their relationship with works by Chaucer and Langland. Wycliffite writings and changes in religious discipline affected notions of how to live the &quot;best life,&quot; reflected in new guides and translations. In light of these works, Chaucer&#039;s ShT is a &quot;knowing response to intersections of lay spiritual desire and monastic discipline&quot; that focuses on &quot;confusions of material and spiritual capital.&quot; The merchant&#039;s desire for brotherhood and his closing himself in his counting room enact a longing for a monastic ideal that Daun John fails to live.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268035">
    <dcterms:title><![CDATA[Lay Readers and Hard Latin: How Gower May Have Intended the Confessio Amantis to Be Read]]></dcterms:title>
    <dcterms:description><![CDATA[Constructs a model for the reception of Gower&#039;s &quot;Confessio Amantis&quot; that accommodates its combination of English, marginal Latin glosses, and very difficult Latin prefatory verses. Clerk-prelectors probably studied the work before performing interpretations of portions of it for a court audience that included members (such as Chaucer) who knew little Latin. Gower wrote his text &quot;for a variety of potential performances.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270775">
    <dcterms:title><![CDATA[Lay Writers and the Politics of Theology in Medieval England from the Twelfth to Fifteenth Centuries]]></dcterms:title>
    <dcterms:description><![CDATA[Suggests that Chaucer&#039;s CT, the &quot;Lais&quot; of Marie de France, and the &quot;Book of Margery Kempe&quot; include &quot;theopolitical&quot; ideas and thus are informed by the Church&#039;s influence on these ideas and on the notion of identity.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269253">
    <dcterms:title><![CDATA[Laying Siege to Female Power: Theseus the Conqueror and Hippolita the &#039;Asseged&#039; in Chaucer&#039;s &#039;The Knight&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[The language used to describe Hippolyta in KnT undermines the praise of Theseus and exposes &quot;the dramatic irony in the Knight&#039;s perception of Theseus&#039;s military exploits and subsequent exchange of ethnic women.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273763">
    <dcterms:title><![CDATA[Le &quot;Bleu Chevalier&quot; de Froissart et Le &quot;Livre de la Duchesse&quot; de Chaucer.]]></dcterms:title>
    <dcterms:description><![CDATA[Considers the dates of BD and Jean Froissart&#039;s &quot;Dit dou Bleu Chevalier&quot; and explores their similarities, arguing that Froissart&#039;s poem inspired the central idea (&quot;l&#039;idée centrale&quot;) and many other features of Chaucer&#039;s poem--aspects of characterization, narrative perspectives, and a number of specific details.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262082">
    <dcterms:title><![CDATA[Le Chevalier de Chatelain et la traduction des &#039;Contes de Cantorbery&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[After a short survey of France&#039;s discovery of medieval English literature, especially Chaucer, in the nineteenth century, Dor describes the main features of Chatelain&#039;s first complete translation of CT into French, published in London from 1857 to 1860.  With his ideal of verisimilitude and his sense of decency and of measure, Chatelain embellished CT with additional details, references to classical mythology, and euphemisms.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268919">
    <dcterms:title><![CDATA[Le chevalier, le poète, et le petit chien : La présence animale dans Le livre de la duchess]]></dcterms:title>
    <dcterms:description><![CDATA[Considers BD as a partition between the mythical and fictional worlds and reality, as a textual space of transition where poetic experience and real life are intertwined.]]></dcterms:description>
</rdf:Description></rdf:RDF>